Gucci’s Monte Carlo Second Chapter campaign, creatively directed by Demna with art direction by Riccardo Zanola and photography by Mark Seliger, moves from the coastline of Chapter 1 into Monaco’s hotel suites, grand villas, and terraces. The campaign stars Anok Yai, Tian Xi Wei, Amelia Gray, Elisabetta Dessy, Emma Koch, Kayako Higuchi, Felix Friedman, Ibrahima Kane, and Samuel Watson, and features the Giglio bag in GG denim and Flora print, the Venice bag in GG canvas, the Jackie reworked in metallic mesh, the Dionysus, a pink suit cut close to the body, floral dresses, black leather, dark tailoring, Horsebit pumps, foldable-back loafers, and cut-out swimwear, with the Flora print, originally designed in 1966 by Vittorio Accornero for Princess Grace of Monaco, appearing across oversized totes, dresses, and beach umbrellas.
- Gucci’s Monte Carlo Second Chapter campaign, creatively directed by Demna with art direction by Riccardo Zanola and photography by Mark Seliger, shifts the setting from the coastline of Chapter 1 into Monaco’s hotel suites, grand villas, and terraces, with film by Marcell Rev, styling by Marie Chaix, hair by Anthony Turner, and makeup by Sam Visser.
- The campaign features the Giglio bag in GG denim and Flora print, the Venice bag in GG canvas, the Jackie reworked in metallic mesh, and the Dionysus, alongside oversized Flora bags, Horsebit pumps, foldable-back loafers, oversized sunglasses, and cut-out swimwear.
- The Flora print, originally designed in 1966 by illustrator Vittorio Accornero as a silk scarf for Princess Grace of Monaco featuring approximately 27 flowers in 34 colors, appears across oversized totes, flowing dresses, and beach umbrellas in the campaign, connecting the house’s archive directly to the principality where the motif was born.
- Clothing includes a pink suit cut close to the body, floral dresses, black leather, and dark tailoring, styled by Marie Chaix with a cast of nine models including Anok Yai, Tian Xi Wei, Amelia Gray, Elisabetta Dessy, Emma Koch, Kayako Higuchi, Felix Friedman, Ibrahima Kane, and Samuel Watson, cast by Jussi Vuorenlehto and Piergiorgio Del Moro.
- The campaign’s visual approach favors warm Mediterranean light, architectural interiors, and composed solitary moments over group interaction, with the models appearing in parallel rather than together, producing a campaign that reads as a series of private encounters with the same wardrobe in the same location.
The coastline is gone. Gucci’s Monte Carlo Second Chapter moves the campaign indoors, trading the open water and arrival energy of Chapter 1 for hotel suites, grand villas, and terraces where the light enters through windows rather than reflecting off the sea. Mark Seliger photographed the campaign in Monaco, and the shift in setting is the most significant decision in the entire production. The beach has not disappeared entirely, but it is no longer the subject. The subject is what happens after the arrival, and the answer, according to Demna’s creative direction, is that the clothes and accessories occupy interior space with the same authority they held outdoors.
The cast is nine models deep. Anok Yai, Tian Xi Wei, Amelia Gray, Elisabetta Dessy, Emma Koch, and Kayako Higuchi carry the women’s looks. Felix Friedman, Ibrahima Kane, and Samuel Watson carry the men’s. Riccardo Zanola art directed. Marie Chaix styled. Anthony Turner handled hair. Sam Visser handled makeup. Jussi Vuorenlehto and Piergiorgio Del Moro cast. The credits are extensive, and the campaign earns them. There is little interaction between the models themselves, and that isolation is deliberate: each figure occupies a separate frame, a separate room, a separate moment within the same Monaco setting.
How the Jackie in Metallic Mesh, the Giglio in Flora Print, and the Dionysus Organize the Campaign’s Accessories Strategy
The accessories carry the campaign’s commercial weight. The Jackie, reworked in metallic mesh, is the most visually distinct piece in the lineup. The Giglio bag appears in GG denim and in Flora print, connecting the house’s newest bag silhouette to its oldest decorative motif. The Venice bag arrives in GG canvas. The Dionysus is present throughout. Oversized Flora bags, Horsebit pumps, foldable-back loafers, and oversized sunglasses complete the accessories range. The Horsebit hardware, metallic finishes, and GG canvas serve as recurring visual signatures throughout the campaign rather than isolated product placements.
The Flora print is the campaign’s strongest archival connection. Vittorio Accornero designed the original motif in 1966 as a silk scarf for Princess Grace of Monaco, featuring approximately 27 flowers rendered in 34 distinct colors. Sixty years later, the print appears in this campaign across oversized totes, flowing dresses, and the beach umbrellas that punctuate the Riviera landscape. The fact that the Flora print was created for a princess of Monaco and now appears in a campaign shot in Monaco is not incidental. It is the most direct line the house can draw between its archive and a specific geography, and Demna has allowed that connection to operate without commentary.
Why Moving the Campaign From Coastline to Interior Signals a Different Approach to Resort-Season Advertising
The clothing reinforces the campaign’s tonal shift. A pink suit, cut close to the body, reads as sharp and precise against the architectural backdrops. Floral dresses and the oversized Flora bags provide the softer register. Black leather and dark tailoring introduce a harder edge that the coastline imagery of Chapter 1 did not accommodate. Cut-out swimwear retains the resort context without dominating it. The range between the pink suit and the black leather is wide, and Marie Chaix’s styling holds both ends together by treating each look as a self-contained composition rather than part of a sequential narrative.
The visual approach is restrained. Seliger’s photography uses warm Mediterranean light and allows architecture and interiors to shape the frame. Several images are composed around solitary figures in large rooms, and the effect is one of privacy rather than spectacle. The campaign favors atmosphere over narrative progression, and that restraint distinguishes it from the more cinematic resort campaigns that other houses have produced this season. Marcell Rev’s film component extends the same approach into motion. The result is a campaign that presents Monaco not as a destination to be performed but as a setting to be inhabited, and the distinction between those two ideas is the entire argument of Chapter 2.
Gucci‘s Monte Carlo Second Chapter is a campaign that understands the difference between showing up and settling in. The move from coastline to interior is the organizing decision, and every other choice follows from it: the solitary compositions, the restrained light, the dark tailoring that would not have appeared in Chapter 1. The Jackie in metallic mesh is the strongest single accessory. The Flora print’s return to Monaco, 60 years after Accornero designed it for Princess Grace, is the strongest archival gesture. Demna has produced a resort campaign that is quieter than most and more specific than nearly all. The principality is the same. The register is entirely different.
Images Courtesy of Gucci
In other campaign news, Bottega Veneta’s “IL MIO” Asks What a Bag Means After You’ve Lived With It
